Archives For impulse

notes from a lecture

February 28, 2018 — Leave a comment

Irit Rogoff

Professor of Visual Cultures – Goldsmiths; University of London

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Professor Rogoff proposes that we need to move toward a new understanding of the research term. What is a research term? Rather than setting a question in advance through which research is guided she proposes a state of being as a researcher that is permanent: a state of working and questioning. This is a shift from basing all research knowledge gains on inherited knowledge and toward what she describes as ‘working from conditions’. This is not about focussing on ‘conditions’ themselves, but working ‘from’ conditions. I take this to mean engaging in the totality of your life and existence and allowing your pursuit in research interests to eb and flow into and out of life conditions: a continuum from life to research to life. I feel that there is a connection between my research focus, photogenie, and this sentiment. I describe photogenie as a quest to discover images and moments that resonate (sensation) and offer new insights and knowledge about existence (revelation). It is the ‘quest’ aspect that I think relates to Rogoff.

Interestingly Rogoff proposes this as a response and antithesis to the nihilism and dead ends of identity politics. She places emphasis on emergent (emerging) independent and individual subjectivities. She calls this a ‘re-singularisation’. Personally I can relate to this. As an artist I never seek to align myself with anybody or any collective based on my immutable characteristics – whiteness, maleness, 30 – year old-ness, tattoo-ed-ness,  – nor for that matter do I align with political or social interests. Rogoff asked: ‘how do these subjectivities collect together in a moment?’. I believe this to be the right question. I’ve always found it more interesting to relate to a person or another artist or collaborator, or anyone I might meet on a film set, in terms of that person as a unique and interesting individual. What happens when we talk as two unique and interesting individuals without the forced assumptions (identity based, or politically based) imposed by the terms of the collective in which we are operating? I think that openness and open-mindedness (and mind-full-ness) are more powerful than aligning power to identities.

… from an investigative impulse to the constitution of new realities …

The influence of Thomas Kuhn … 

I liked her comment that artistic research is an alternative entry point into significant problems. Granting ourselves permission is an important tenet of artistic expression. What facet of my being needs to be activated – what aspect of my condition is vying for articulation in  reality?

 

 

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images from a work in production

title: I Work for the Devil

In these images I am playing around with different colour tones and editing choices. I am building an aesthetic to carry through the rest of production.

 

 

Wilhelm Worringer posits a spectrum for the impulse behind art – the extremities of which can be defined as an impulse towards empathy at one end and an impulse towards abstraction at the other.

The fundamental notion at the heart of Worringer’s thesis is that beauty derives from our sense of being able to identify with an object; empathy. This has clear relationships with phenomenology and is a starting point for further research. Worringer is looking to understand the reasons behind how and why a human being is driven or drawn towards a work of art. This will inevitably have to include psychology – the level of the individual – and zeitgeist – the level of the broader culture.

Worringer argues that representational art produces satisfaction from our objectified delight in the self, reflecting a confidence in the world as it is as in Renaissance art. By contrast, the urge to abstraction, as exemplified by Egyptian, Byzantine, primitive, or modern expressionist art, articulates a totally different response to the world: it expresses man s insecurity. Thus in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms. Abstraction and Empathy also has a sociological dimension, in that the urge to create fixed, abstract, and geometric forms is a response to the modern experience of industrialization and the sense that individual identity is threatened by a hostile mass society.

from

Abstraction and Empathy: A Contribution to the Psychology of Style